Warner Classics
Herbert Von Karajan - Mozart : Symphonies Nos.35, 36, 38, 39, 40, 41 / Berlin Philharmonic (1970) - Import 2 SACD Hybrid Limited Edition
Herbert Von Karajan - Mozart : Symphonies Nos.35, 36, 38, 39, 40, 41 / Berlin Philharmonic (1970) - Import 2 SACD Hybrid Limited Edition
Hybrid SACD
Classical Music
June 5, 2026
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: 2685465517
JAN/ISBN: 5026854655178
Number of Discs: 2
Country/Region of Manufacture: Import
Credits:
Herbert Von Karajan
Description:
In 1970, Karajan recorded the ultimate Mozart with his close friend and renowned producer Michel Grots. The Berlin Philharmonic’s sound is brighter and as smooth as silk. The noble legatos and sensual finale are now vividly brought back to life in this 2026 remaster on SACD. For this release, Studio Circe in Paris has performed a 2026 high-resolution remastering from the original master tapes, resulting in a high-fidelity SACD. The Berlin Philharmonic’s signature silky texture emerges vividly, revealing even the most delicate nuances and conveying the ultimate sound Karajan sought to achieve in its entirety. It was in September 1970 that Herbert von Karajan, the conductor who symbolized the post-war music world, recorded Mozart’s six late symphonies as a set. The production was led by Michel Grots, a French producer who was both Karajan’s close friend and colleague. Thanks to the skill of engineer Wolfgang Gülich, subtle nuances can be heard in the Berlin Philharmonic’s sound here. The orchestra’s characteristic silky texture and masterful, enveloping sound remain intact, yet compared to the Deutsche Grammophon recordings, this version is brighter, with any heaviness or roughness subdued. That said, this is, after all, “full-symphonic” Mozart. It is by no means lacking in urgency, radiating a sincere and dignified brilliance. The phrasing is supple and organic. It is thoroughly steeped in that rich legato that was Karajan’s trademark—so much so that the orchestra members bestowed upon him the nickname “Herr mit Bindung” (Mr. Legato). The introductions to the 36th and 39th are solemn and noble; the slow movements (Andante and Adagio) take on a metaphysical quality; and the minuets are conceived almost as “interludes,” with the effect in the 36th being particularly striking. And when it comes to the finales (the “Hafner,” the “Symphony in G Minor,” or the “Jupiter”), Karajan’s true mastery in handling supple and opulent musical forms is on full display, exuding an irresistible—to put it bluntly, downright sexy—charm. (1/2) Warner Music Japan
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